Piano Sonata No. 1 (Beethoven)
The Sonata No. 1 in F minor Op 2 No 1 is the first of the 32 provided with opus numbers Beethoven's piano sonatas. Previously developed in lessons with Christian Gottlob Neefe, the three " Elector " Sonatas WoO 47
The Sonata is, like all works published under Opus 2, dedicated to Joseph Haydn, in which Beethoven between late 1792 and early 1794 took lessons. However, it is by no means a student's work, but a very custom-engraved work that formally modeled on the models of his teacher, from this but in the musical feel and expression clearly contrasts.
Specifically, the first movement of the sonata may on the one hand serve as an example for an exemplary implementation of the classical sonata form, but must on the other hand, due to its conflictual emotional tension already as a rudimentary anticipation of the basic idea of the first movement of the great F minor Sonata, Op 57 ( Appassionata ) be counted. Much like the Sonata Op 10 No 1 as " small Pathétique " applies, the Sonata op 2.1 is " often called the small Appassionata, probably particularly with regard to the relationship with op 57 in its key and the similarity the last sentences with their uninterrupted figuration and excitement. "
Construction
1st Set
The Allegro begins with a kind of big kick-off, a soft, broken chord ( Mannheim rocket) in F minor and subsequent Tonschleife. This two-stroke cycle is repeated from three in the dominant. A subsequent four-stroke engine completes the subject by first the upward trend begun will continue vigorously to a fortissimo climax ( c3), but which is then detected by a decrescendierende and ending with a semi- conclusive sigh downward movement in question. The building appears to a ATTACHING to the main theme of reconciliation flat major second subject is related to the main topic, but is this a contradiction in the sense of contrasting derivation. After a dramatic accomplishment with dialectical role reversal of the issues and their partial convergence of character in the reprise of the 152 cycles lasting movement ends with some brutal slamming chords in fortissimo.
Second sentence
The second movement ( Adagio ) is in F major and has 61 bars. This already allows the depth and breadth of Beethoven's melodic empathize. These approaches, which are guided in sonatas such as " Hammerklavier" op 106 to the highest perfection, are the beginnings of Beethoven 's Adagio style. This F major movement is reminiscent of which are still at the great predecessors Wolfgang Amadeus Mozart and Joseph Haydn.
3rd movement
" The third movement is a true minuet, so to play quietly and dancing default. " He is in F minor and begins piano. In the middle of the second part, the character of the Allegretto converts, however. From bar 25 a fortissimo put forward quaver movement leads to a passionate outburst of the opening motif, which is, however, withdrawn after six cycles by a subito piano, and then the end of the main part fades away in pianissimo.
The then starting in 41 clock trio brings a character change. This particular of a flowing, alternately sounding in the upper and lower voice quaver movement in F major part achieved in the middle of the second trio part of a climax in the form of up to fortissimo swelling leadership of the quaver movement in sixth chord parallels. After the end of the trio of the first part of the sentence is repeated as capo.
In the three sonatas op 2 Beethoven undergoes a gradual transition from the minuet to scherzo. After the real minuet of the first sonata, which is named as such, is the third movement of the Second Sonata suddenly Scherzo, although he remains a minuet due to its tempo ( Allegretto ) and his " playful " character only gets the capricious sixteenth motives. While here, so there is a kind of hybrid between minuet and scherzo, takes place in the third sonata, the step of real Beethoven's Scherzo, for a faster tempo (Allegro) is prescribed.
4th movement
The final prestissimo, also standing in F minor, is an energetic, vorandrängender sentence. Incessantly vorwärtsjagende eighth note triplets give its main parts a character stormy excitement. In elementary change of piano and forte is the main theme developed. The six chords of the beginning are repeated congruent. After passing through these 12 chords (4 cycles) completes the subject by a piano put forward four-stroke. After its varied repetition further follow the head motif aufgreifende chord groups which always three chords form a unit. Here's a quick three and a half octaves rushing Achteltriolenlauf, which is followed by an urgent Triolenpartie and leads to the second theme. This c- minor theme is applied in many octaves. It reminds already in later sonatas by Beethoven, such as the Appassionata, Op 57 this set also has with its implementation, the sonata form. The lyrical triad theme that opens the implementation, reiterates the basic features of Mozart. This episode of peace is displaced in the course of carrying out again through the triplet -coded main subject. The recapitulation ends fortissimo with a " rage " of the main subject, the triplets in the upper voice appear and rush at the end of a broken f - minor triad over three octaves in the " abyss ". With the final note of this " crash " (F) ends of the 196 cycles lasting record.